Gattaca (United States, 1997)

A movie review by James Berardinelli

Welcome to the 21st Century, an era when things aren't that much different, but people are. No
longer is standard procreation the accepted way to reproduce. Consider all of the birth defects that
such an approach can bring about. And, while it would be unreasonable to outlaw sex for the
purpose of producing offspring, be aware than any children so conceived are almost certain to be
"in-valids" -- genetically imperfect and ill-suited to be productive members of society. There is a
better, more rational way -- a method that will guarantee health, stamina, and physical
attractiveness. Let science do a little tinkering with the DNA. Everyone does it. Or at least
everyone who wants their child to have a shot at a normal, well-adjusted life.

This is the chillingly feasible premise of Gattaca. While in 1997, science has not yet
perfected the genetic engineering techniques used in this film to routinely develop babies, every day
brings the medical profession closer. As a result, Gattaca doesn't just function as a
science fiction thriller, but as both a cautionary tale about the dangers of letting scientific ability
outstrip ethics and as a morality play about the irrationality of bigotry.

Andrew Niccol's oppressive future, which contains more than an element of Orwell's "Big Brother
is watching" mentality, isn't just a clever backdrop against which to set a thriller. Instead, it's an
integral part of the story. While it's true that there is a murder mystery, that's just a subplot. The
main focus of Gattaca is the struggle of a genetically inferior man, Vincent Freeman
(Ethan Hawke), to survive and prosper in a world where his kind is routinely discriminated against.

Shortly after they were married, Vincent's parents decided to start a family the old-fashioned way,
without any help from doctors and test tubes. The result was a boy who was diagnosed as 99%
likely to have a serious heart defect. That rendered Vincent ineligible for all but the most menial of
jobs. But his dream was to one day work at The Gattaca Aerospace Corporation and participate in
the first-ever manned flight to the moons of Saturn. For most "in-valids", this would have
remained a fantasy, but Vincent possessed the determination and drive to make it real.

With the help of a shady middle-man, Vincent locates Jerome Morrow (Jude Law), a genetically
superior individual who was paralyzed as the result of an accident. He agees to sell Vincent his
identity (including blood and urine on demand, fingerprints, hair and other body debris, etc.). So,
equipped with Jerome's genetic resume, which guarantees him work anywhere, Vincent applies for
a position at Gattaca. He is accepted and quickly proves his worth to everyone. But, a week
before he is to attain his lifelong ambition of making a space flight, he becomes a suspect in a
murder investigation and his carefully-guarded secret is in danger of being exposed.

One of the things that impressed me the most about Gattaca is its ability to keep the level
of tension high without compromising the script's intelligence or integrity. First-time director
Andrew Niccol, a New Zealander working in Los Angeles, displays a sure hand in his execution of
the material. One scene in particular, a masterfully-edited sequence cutting back and forth between
the cops (who are closing in) and a man struggling to accomplish a Herculean physical task, is
guaranteed to render audiences breathless. And there are enough little twists and turns to keep
even the most easily-distracted audience member involved. From a visual perspective, Niccol's
cinematographer, Slawomir Idziak, uses his trademark filters to differentiate the soft, warm glow
of the outside world from the harshness of the windowless interior of Gattaca.

Ethan Hawke (Before Sunrise) is solid as Vincent, effectively portraying both his single-minded determination to rise about the disadvantages of his birth and his constant wariness of being caught once he has reached that goal. Jude Law's Jerome is a fascinating individual -- a man who is torn between despising Vincent because of his
inferiority and admiring him because he's succeeding. In fact, Jerome is arguably
Gattaca's most complex character. Meanwhile, Alan Arkin gives a delightful turn as a
hard-bitten detective. Uma Thurman's limited range isn't taxed as Vincent's love interest (there
isn't much chemistry between her and Hawke, but, since romance is a tertiary element of the story,
it doesn't make much difference). And Loren Dean (the title character in Billy Bathgate)
plays a cop with a special grudge against Vincent.

The average thriller, even if it's set in a faraway or futuristic world, tends to offer visceral,
ephemeral excitement, and not much else. However, while Gattaca has the energy and
tautness to compare with the best of those, its thought-provoking script and thematic richness
elevate it to the next level. Gattaca is not a perfect motion picture (I would have
appreciated a little more political background), but, at a time when so many science fiction films
are dumber than dirt, it makes for a refreshing change-of-pace, and is a fine addition to the Fall
movie season.